Henry II faience, the technique of which is as much a mystery as Bernard Palissy’s glaze, has also been imitated, but, with the exception of a few specimens, the imitations are so coarse that they could hardly be dangerous even to the neophyte who had perchance some slight acquaintance with originals. As in the case of Palissy, however, Henry II ceramics do not abound on the market and such a thing as a find is not to be hoped for. More common are the imitations of Rouen, Moustiers, down to the ceramics of the Revolution. The latter were at one time in such demand that a very commercial type was produced which can be imitated, of course, with ease. In this field also, therefore, do not get excited too quickly over some truculent subject with the conspicuous date of the Terror. Naturally among these subjects, the _assiettes au confesseur_ and _à la guillotine_, depicting the execution of Louis XVI, are too tempting to forgers not to be given a certain preference among the faked pottery of the Revolution. We would point out, further, that the pottery of all parts of the world has invariably been faked or imitated, as soon as a promise of success was presented to the imitator and of gain to the faker, but it is not the purpose of this work to make a long exposition of the countless types of faking, which would considerably increase its bulk and risk monotony by an endless list of names and almost identical facts with the usual dramatis personæ--the cheater and the cheated. To give an appearance of age to pottery, especially glazed pottery, there are various methods, as we have already said.